Monster

Acclaimed Japanese filmmaker Hirokazu Kore-eda is celebrated for his study of family dynamics and human relationships. Shoplifters, Like Father Like Son, and Still Walking have received widespread critical praise and numerous accolades, solidifying his status as a leading figure in modern cinema. His latest picture, Monster, utilizing a screenplay by Yuji Sakamoto, adds another noteworthy addition to his illustrious body of work.

Renowned American film producer Robert Evans once famously remarked, “There are three sides to every story: your side, my side, and the truth.” The adage is rather apropos here, as this account unfolds through a triad of distinct perspectives across a trio of acts. The movie explores the changing aspects of perception.

An apartment fire and a subsequent typhoon are the backdrop for an investigation into the lives of the four main characters. Saori Mugino (Sakura Ando) is a widow and single mother grappling with her son Minato’s erratic behavior. Saori must confront the school’s dismissive principal, Makiko Fushimi (Yūko Tanaka), about her concerns over the distressing behavior of Mr. Hori (Eita Nagayama), an abusive teacher toward her child. But is he? Much will be revealed. We will get Mr. Hori’s angle in part two. The final focus unfolds in part three, where the point of view of the youngest stars takes center stage: Minato Mugino (Sōya Kurokawa), Saori’s troubled son, and Minato’s sensitive friend and classmate, Yori Hoshikawa (Hinata Hiiragi), will draw you in with their emotionally affecting performances.

Monster is like an investigative drama in a trilogy of parts. Ryûto Kondô’s cinematography captures moments of introspection and the whimsical exuberance of childhood, further enhancing the emotional resonance of the story. We first see the outlook of the mother, then the teacher, and eventually the children. In the third act, the chronicle ultimately finds its true focus. However, the first two acts are necessary because they lay the groundwork for the outcome. Director Hirokazu Kore-eda presents an intriguing psychological drama that constantly contradicts our comprehension of what is happening.

Monster asks audiences to reconsider their assumptions and embrace the complexities of the human experience. As our understanding shifts and truths emerge, the film invites viewers to contemplate the inherent subjectivity of knowledge. These are complex characters. As their stories unfold, we’re regularly challenged to reassess our initial impressions. This exploration underscores the notion that facts can be mutable, shaped by the lens through which they are viewed.

I’ve barely touched upon the depth of emotion. Beyond the intricate web of shifting perspectives, the narrative presents a moving tale of humanity that powerfully echoes the relationship between Minato and Yori. Director Hirokazu Kore-eda’s worldview is bleak, and it can weigh upon the viewer in a way that dares us to fully welcome his beliefs. I understood the “monster” to be the evil that resides in the seemingly innocent people that populate our everyday lives. That is an unpleasant — albeit pragmatic — idea. Also, the visually sunny ending is ambiguous and open to various interpretations, most of which have depressing overtones. In the end, this story resonates because it is not just a poignant reminder of the intricacies of observation but also about two young boys whose friendship manages a touching connection amidst the chaos.

Monster was released in theaters December 2023 and is currently available for rent on various streaming platforms, such as Apple, Amazon, and Google.

03-17-24